Dear lovely Silent Shout readers, you may be wondering what’s up. We’re sad to say that after seven years of ad-free, non-profit publication, we’re retiring from the blogging game. It’s been a privilege sharing the work of Canada’s ridiculously talented electronic pop underground, but times have changed. We still wish the absolute best of perseverance to our blogger brethren and the rest of the independent music media.

We have countless people to thank – above all, the underrecognized Canadian musicians who have been making the best music in the world for the last decade or more. Without them, our site would obviously have been nothing.

Our writers over the years, volunteers all, did so much to make Silent Shout what it is, and we couldn’t have done it without them. And huge thanks to Roxanne Ignatius, whose design and artwork defined our look over the years.

Finally, to you readers, thank you for sticking with us this far. When we started the blog we couldn’t have imagined what it would turn into, and it’s all because of dedicated readers like you who kept coming back, sharing our posts, and otherwise spreading the word. We’re sorry to be letting you down, when you’ve done so much to keep us going.

We’ll be signing off with one final feature in November highlighting our very favourites for the life of the blog, from 2010-2017.

Kenton Smith aka p0st3rb0y has long been an essential denizen of the Toronto underground, rocking countless stages (well, floors) with his brilliantly chaotic electronic noise-pop from a dark future. And he’s set to release a new EP, his first since 2014. Get Fucked is out August 2 on cassette on Heretical Objects, and we’re honoured to premiere the video for “Despise (New Silence)”.

Directed by David Waldman with animations by Paloma Dawkins, the intimate black-and-white video captures Smith in a windowless room surrounded by musical equipment. Full of close-ups and animated tears, it pairs well with the emotional, cathartic energy of the song, which lurches unpredictably from menacingly anticipatory bass synths to explosive in-the-red noise choruses. All in all, it’s a stunning track, and one of the year’s hardest-hitting.